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The 2017 Oscars are just around the Oscar 2017 Live corner, and with the famous Oscars luncheon already behind us, we’ve been gifted with one of the most important things lead up to the big event: The Oscars Class Photo!Bringing together 163 of the 2017 Academy Award nominees, the picture unites some of Hollywood’s most famous faces for one seriously awesome picture.

Of course, in bringing together so many creative and artistic people, you’re bound to see some, er, interesting details. For example, standing on the left-hand side of the trophy you may notice a green hat, and hiding under that green hat is Pharrell Williams, wearing a NASA pullover sweatshirt. Dress code, shmess code!Meanwhile, sitting in the front row on the left side of the picture, we have a pretty stellar group of individuals, including: Emma Stone, Matt Damon, Natalie Portman and Octavia Spencer. This organization obviously got us plotting Hollywood’s next biggest #Squad (move over, Taylor Swift !).

Then there’s Tarell Alvin McCraney—the man behind the stage play for Moonlight—throwing up signs in the back with a huge smile on his face, while Justin Timberlake’s pants appear a little short in the front row on the right-hand side.Today, we declared war on La La Land,” Bill Maher joked Oscar 2017 Live Stream on the most recent episode of HBO’s Real Time, referring to the actions of the world’s preeminent fake-news sleuth and his penchant for alienating entire nations in the span of 140 characters. Maher may or may not have been referencing Damien Chazelle’s La La Land, but even if he just meant the city, his reasoning isn’t incredibly off the mark, since few things currently rival Donald J.

Trump in unchecked self-involvement so much as Sebastian and Mia’s vacuum-sealed romance set in the heart of a seemingly deserted Los Angeles.Could the fact that so few Angelenos could see themselves on display throughout Chazelle’s thin alt-musical explain why the film, widely expected to steamroll through the precursors en route to all the Oscars, faltered at the ASC Awards? The cinematographers’ guild instead surprisingly handed their award to Lion’s Greig Fraser. While the Australian lenser has amassed an impressive portfolio of credits in the last decade (including some varied, visceral work in Let Me In, Killing Them Softly, and Zero Dark Thirty), he’s not exactly overdue, nor does Lion boast the sort of computer-enhanced trickery that’s increasingly come to dominate this category.

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And even if cinematographers somehow decided to make some sort of statement on behalf of analog in the wake of Emmanuel Lubezki’s recent hat trick, Moonlight has more overt best-picture heat and identity politics on its side.While La La Land’s naysayers may be frothing the water at the merest drop of blood, it’s tough to believe that the film’s cinematographer, Linus Sandgren, doesn’t have this locked down. Especially as his CinemaScopic aspect ratio is truly among the only elements giving the film any scope.Eric Henderson has a theory Oscar Awards 2017 Live that Extremis, in a year where La La Land is poised to at least match the all-time Oscar record for most wins, represents the only real option in this category for escapism. After all, Dan Krauss’s documentary depicts people dying on a natural timetable according to the laws of nature, not before their time as the result of lawless, unjust regimes.

I watched a loved one die two weeks ago, so this thin but wrenching film about end-of-life care hit me like a truck. But whatever agony I’ve felt in the wake of my loss, not to mention in response to our country’s seeming embrace of geopolitical suicide, I’m nowhere near the point of reaching whatever level of Dadaist despair this protester from the woman’s march in D.C. arrived at while Trump was being inaugurated. I would like to think that enough Oscar voters are still happy enough to be alive that they would prefer to embrace the message of hope advanced by some of the other shorts.

Kahane Corn and Raphaela Neihausen’s Joe’s Violin is certainly one such short, and normally we could have called it the likely victor given that it hits two of Oscar’s favorite sweet spots: the Holocaust and young down-and-out artists. How a violin passes from the hands of a Holocaust survivor Oscar 2017 Live to a young schoolgirl in the Bronx attests to a message of solidarity that sees beyond color and culture. The short comprehends the powerful mission of the Mr. Holland’s Opus Foundation, and without playing like an advertisement for the non-profit, but 12-year-old Bronx schoolgirl Brianna Perez is kept at arm’s length from us, at least in comparison to 91-year-old Joe Feingold. [Source]